The Adoration of the Kings, Famous Paintings in detail

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  • The Adoration of the Kings

    Famous Paintings in detail

  • GOES, Hugo van derThe Adoration of the Kings (Monforte Altar) c. 1470Oil on wood, 150 x 247 cmStaatliche Museen, Berlin

  • GOES, Hugo van derThe Adoration of the Kings (Monforte Altar) (detail)c. 1470Oil on woodStaatliche Museen, Berlin

  • GOES, Hugo van derThe Adoration of the Kings (Monforte Altar) (detail)c. 1470Oil on woodStaatliche Museen, Berlin

  • GOES, Hugo van derThe Adoration of the Kings (Monforte Altar) (detail)c. 1470Oil on woodStaatliche Museen, Berlin

  • GOES, Hugo van derThe Adoration of the Kings (Monforte Altar) (detail)c. 1470Oil on woodStaatliche Museen, Berlin

  • GOES, Hugo van derThe Adoration of the Kings (Monforte Altar) (detail)c. 1470Oil on woodStaatliche Museen, Berlin

  • GOES, Hugo van derThe Adoration of the Kings (Monforte Altar) (detail)c. 1470Oil on woodStaatliche Museen, Berlin

    A group of villagers observe this extraordinary scene through a gap in the wall. The figures, both actors and witnesses, are all shown on the same scale, whether humble or magnificent. They are neither reticent nor exalted, but react to the event in their various ways, surprised or self-conscious.A tiny squirrel is running along one of the beams above the opening through which the villagers observe the scene.

  • GOES, Hugo van derThe Adoration of the Kings (Monforte Altar) (detail)c. 1470Oil on woodStaatliche Museen, Berlin

    In the background we can see a few women, some cottages and a river besides which the Kings' horses are waiting.

  • GOES, Hugo van derThe Adoration of the Kings (Monforte Altar) (detail)c. 1470Oil on woodStaatliche Museen, Berlin

  • GOES, Hugo van derThe Adoration of the Kings (Monforte Altar) (detail)c. 1470Oil on woodStaatliche Museen, Berlin

  • GOES, Hugo van derThe Adoration of the Kings (Monforte Altar) (detail)c. 1470Oil on woodStaatliche Museen, Berlin

    In the foreground details are depicted with great care.

  • GOES, Hugo van derThe Adoration of the Kings (Monforte Altar) (detail)c. 1470Oil on woodStaatliche Museen, Berlin

  • GOES, Hugo van derThe Adoration of the Kings (Monforte Altar) (detail)c. 1470Oil on woodStaatliche Museen, Berlin

  • GOES, Hugo van derThe Adoration of the Kings (Monforte Altar) (detail)c. 1470Oil on woodStaatliche Museen, Berlin

    In the foreground, symbolic flowers are depicted with great care.

  • BASSANO, JacopoAdoration of the Kings1542Oil on canvas, 183 x 235 cmNational Gallery of Scotland, Edinburgh

  • BASSANO, JacopoAdoration of the Kings (detail)1542Oil on canvas, 183 x 235 cmNational Gallery of Scotland, Edinburgh

  • BASSANO, JacopoAdoration of the Kings (detail)1542Oil on canvas, 183 x 235 cmNational Gallery of Scotland, Edinburgh

  • BASSANO, JacopoAdoration of the Kings (detail)1542Oil on canvas, 183 x 235 cmNational Gallery of Scotland, Edinburgh

  • BASSANO, JacopoAdoration of the Kings (detail)1542Oil on canvas, 183 x 235 cmNational Gallery of Scotland, Edinburgh

  • BASSANO, JacopoAdoration of the Kings (detail)1542Oil on canvas, 183 x 235 cmNational Gallery of Scotland, Edinburgh

  • BASSANO, JacopoAdoration of the Kings (detail)1542Oil on canvas, 183 x 235 cmNational Gallery of Scotland, Edinburgh

  • BASSANO, JacopoAdoration of the Kings (detail)1542Oil on canvas, 183 x 235 cmNational Gallery of Scotland, Edinburgh

  • BRUEGEL, Pieter the ElderThe Adoration of the Kings1564Oil on wood, 111 x 84 cmNational Gallery, London

  • BRUEGEL, Pieter the ElderThe Adoration of the Kings (detail)1564Oil on wood, 111 x 84 cmNational Gallery, London

  • BRUEGEL, Pieter the ElderThe Adoration of the Kings (detail)1564Oil on wood, 111 x 84 cmNational Gallery, London

  • BRUEGEL, Pieter the ElderThe Adoration of the Kings (detail)1564Oil on wood, width of detail 21 cmNational Gallery, London

    Bruegel depictstheAdorationas it could have been staged in a Passion play. It was admissible withinthecontextofsuch plays that someone whisper something in Joseph's ear - not, however, inthecaseofpictures, according totheguidelines laid down bytheCounter-Reformation.

  • BRUEGEL, Pieter the ElderThe Adoration of the Kings (detail)1564Oil on wood, width of detail 26 cmNational Gallery, London

  • BRUEGEL, Pieter the ElderThe Adoration of the Kings (detail)1564Oil on wood, 111 x 84 cmNational Gallery, London

  • BRUEGEL, Pieter the ElderThe Adoration of the Kings (detail)1564Oil on wood, 111 x 84 cmNational Gallery, London

  • DAVID, GerardAdoration of the Kingsc. 1515Oil on panel, 60 x 59 cmNational Gallery, London

  • DAVID, GerardAdoration of the Kings (detail)c. 1515Oil on panelNational Gallery, London

  • DAVID, GerardAdoration of the Kings (detail)c. 1515Oil on panelNational Gallery, London

  • DAVID, GerardAdoration of the Kings (detail)c. 1515Oil on panelNational Gallery, London

  • DAVID, GerardAdoration of the Kings (detail)c. 1515Oil on panelNational Gallery, London

  • DAVID, GerardAdoration of the Kings (detail)c. 1515Oil on panelNational Gallery, London

  • DAVID, GerardAdoration of the Kings (detail)c. 1515Oil on panelNational Gallery, London

  • GOSSART, JanThe Adoration of the Kings1500-15Oil on woodNational Gallery, London

  • GOSSART, JanThe Adoration of the Kings (detail)1500-15Oil on woodNational Gallery, London

  • GOSSART, JanThe Adoration of the Kings (detail)1500-15Oil on woodNational Gallery, London

  • GOSSART, JanThe Adoration of the Kings (detail)1500-15Oil on woodNational Gallery, London

    Recent technical examination of Gossart's paintings led to the suggestion that Gerard David collaborated with Gossart on some paintings including the present Adoration. It is assumed that, in addition to some other details, the head of the Virgin was painted by Gerard David, whose influence on Gossart is shown by a comparison with David's Adoration of the Kings in London.

  • GOSSART, JanThe Adoration of the Kings (detail)1500-15Oil on woodNational Gallery, London

  • GOSSART, JanThe Adoration of the Kings (detail)1500-15Oil on woodNational Gallery, London

  • GOSSART, JanThe Adoration of the Kings (detail)1500-15Oil on woodNational Gallery, London

  • GOSSART, JanThe Adoration of the Kings (detail)1500-15Oil on woodNational Gallery, London

  • GOSSART, JanThe Adoration of the Kings (detail)1500-15Oil on woodNational Gallery, London

  • GOSSART, JanThe Adoration of the Kings (detail)1500-15Oil on woodNational Gallery, London

  • GOSSART, JanThe Adoration of the Kings (detail)1500-15Oil on woodNational Gallery, London

  • The Adoration of the Kings_Famous Paintings in detail

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  • GOSSART, JanThe Adoration of the Kings

    This large picture was painted as the altarpiece of the Lady Chapel of the Abbey of St Adrian's, Geraardsbergen, near Brussels. It was evidently commissioned by a local nobleman, Daniel van Boechout, Lord of Boerlare, who was to be buried there. Behind the kneeling king, Caspar, stands Melchior with a retinue of attendants. Balthazar is on the left, and Gossaert has signed his name on the border of his headdress and again on the collar worn by his attendant.

    The dove, symbol of the Holy Spirit, descends to the infant Christ from the brilliant star in the sky, and angels approach from a great distance through a series of arches, giving the scene a spectacular sense of space and depth.

    Gossaert used the bright colour and highly detailed oil painting technique of his 15th-century Netherlandish predecessors to sophisticated effect. The figures wear sumptuous costumes made of rich fabrics. The metalwork gifts presented by the kings are elaborate and reflect contemporary designs.

  • GOES, Hugo van derThe Adoration of the Kings (Monforte Altar)

    The most brilliant work from the early period of van der Goes is the Monforte Altarpiece, named after the town in which it was housed, in a college belonging to a group of Spanish Jesuits, before being subsequently transferred to the Berlin museum. It is a large-scale triptych, of which only the central panel, a long horizontal rectangle, has survived to the present day. A group of hovering angels have been amputated from the top of the panel, and the two wings have disappeared. The theme of the surviving picture is the adoration of the Kings.

    The Three Kings and their followers come upon the Virgin, the Holy Infant and Joseph amid the ruins of a palace. A group of villagers observe this extraordinary scene through a gap in the wall. The figures, both actors and witnesses, are all shown on the same scale, whether humble or magnificent. They are neither reticent nor exalted, but react to the event in their various ways, surprised or self-conscious. In the background we can see a few women, some cottages and a river besides which the Kings' horses are waiting.

    In the foreground, symbolic flowers - the lily and columbine - and a pottery vessel are depicted with great care. A tiny squirrel is running along one of the beams above the opening through which the villagers observe the scene. Van der Goes has given free rein to his imagination, both in the composition and in his handling of paint, deploying the splendidly rich colours that are so characteristic of his art, mixing blazing reds with th